Somewhere Over The Rainbow - Behind The Scenes at the National Leprechaun Museum

Two balding heads peered curiously beneath the shutters which were lowered to half mast, “What’s going here, huh? What are you doing with our building?” The two men, who used to work in the old Fás offices, start to laugh when they are told they are on the site of the National Leprechaun Museum. "No really, it is", a museum employee insisted. "You’re pulling our legs," the civil servants shot back. After some to and fro, the men were finally convinced of the reality and walked away laughing with a promise to return.

Their reactions, while amusing, are not uncommon. It is most peoples’ first response after hearing a leprechaun museum is opening in Dublin, people instinctively question whether it will pander and perpetuate ludicrous assumptions of Ireland. You know those assumptions we assumed had died - until we saw Leap Year and it was confirmed that crazy Oirish characters are alive and well, and still make phone calls from fifties-style telephone booths rather than mobile phones.

In arranging a visit to the museum, the owner Tom O’Rahilly explained the reasoning behind the museum, “Irish culture is famous the world over – even Walt Disney came to Ireland to look for leprechauns. However, not many know the real stories behind the country’s folklore. We want to take visitors to the heart of Irish identity and imagination, telling the amazing tales that make up Celtic culture and offering some surprises and new experiences along the way."

Perhaps sensing our disbelief we were told that Dáithí Ó hÓgáin, Emeritus Professor of the Dept. Folklore at UCD, acted as the leprechaun consultant for the new venture and that the museum is rooted in folklore. The first room is a traditional museum information room and sets leprechauns in context in terms of popular culture. O’Rahilly guided us, “References to leprechauns date from the early texts of the 8th century, right through to Finian’s Rainbow, Darby O’Gill and The Simpsons. This room places leprechauns in early literature and follows them right through to modern times.”

Next up, we were ushered through an Alice in Wonderland-esque tunnel which plays with perception, leaving you a little disorientated. Beginning at the start of the tunnel, visitors appear larger and larger until they reach the end, which incidentally leaves them at the next room – ‘The Giants Causeway’. Beautifully crafted in wood, walking beneath this causeway is bizarre, but not as bizarre as the next room. ‘The Giant’s House’ lets visitors experience what it is like to be a third the size of humans, in a room with giant chairs, a table, cups and a fireplace. It’s pretty strange and again, messes with proportions and perspective.

O’Rahilly talked us through the remaining chapters; the bronze-clad ‘Inside the Fairy Hill’ is particularly interesting. He explained, “The Neolithic sites are very important in the history of mythology, these sites were home to the mythical beings of Ireland. We’re going to take you inside the fairy hill. We’re going to take you inside those sites and what we imagine they were like.”

Concentrating more so on folklore and Irish history, the leprechaun museum aims to use experience and feeling to tell stories - it even boasts an almost touchable 30lb crock of gold. It is unavoidable that The Leprechaun Museum will be sniggered at. But if you manage to get past the preconceptions , you might find a museum rooted in folklore, rather than paddywhackery.

Two pieces of advice for visitors; it’s pretty disorientating so recall that swimming advice and don’t visit until at least one hour after eating. Also don’t drop your souvenir coin in the fare box on Dublin Bus. You will be devastated.

The National Leprechaun Museum is situated right at the Jervis Street Luas stop.

Admission: €10 for adults, €7 for children/concession, family entry (two adults, two children) €27. A €10 ticket includes a souvenir leprechaun coin which can be kept or redeemed in the museum shop/café to the value of €3. See more at: www.leprechaunmuseum.ie

La Caverna - Restaurant Review

From the raving word of mouth recommendations that seem to emanate from La Caverna in Temple Bar, you’d be expecting simple and authentic Italian dishes created with fresh, high-quality ingredients. You might also expect friendly service, some nice décor and a pleasant atmosphere. Expect to have these expectations crushed.

From our arrival we were disappointed. We were hoping to be seated in the wine cellar dining area, the barrel vault from which the name derives, but were shooed into the street level dining area. The waitress absconded before we could inquire about the cellar dining. Seated in a mini booth at a tiny table, we surveyed our surroundings - the menstrual red carpet, uncomfortable pine canteen chairs and generic art work all generated a sense of unease. The ABBA music oozing from hidden speakers added a bit of sparkle to the drab surroundings, but not enough to lift it from depressville.

Left with tatty menus, we surveyed the options. There are apparently specials, but these were not advertised on blackboards and not given by our waitress. No specials or anything special to be found on the menu either – potato skins, chicken wings, garlic mushrooms, burgers, chicken curry, ‘Italian’ omelette all feature, alongside the usual pizza and pasta dishes. It is a menu of overpriced pub grub - €19.95 for battered cod and chips (!). Our soft drink and glass of house white arrived at the table, neither chilled. Not wanting to linger, we decided to just get mains and get out.

My companion had a simple Margheritta [sic] pizza (€9.95), which looked like it was steam rolled out of the oven to our table. Nothing to write home about - although the tomato sauce had an unexpected zing to it, which is good if you like spicy, but not so good if you were expecting a plain ole pizza. I ordered two starters; the large Calarmi rings (€6.95) were over-cooked, rendering them rubbery and served with out-of-the-bottle sweet chilli sauce, which was an odd combination. The Brie Salad (€6.95) involved a giant wedge of brie with a side salad of iceberg lettuce, cucumber, pepper and three olives. The accompanying home-made cranberry sauce was overbearing and completely smothered the over-cooked brie, which managed to have a chewy coating. Truly awful. I had to nick a pizza slice from my companion to rid the taste.

After waiting an age for the bill, we grabbed our scrunched up coats from the side of our chairs (no cloak room and no backs of chairs to hang your on) and made a swift exit. An awful dining experience. Dissmissive staff (although a very smiley Maitre d’/manager), drab surroundings and a menu seemingly thrown together with no pretence of Italian. How places like this thrive and great Italian’s like Café Piedescalso on Thomas Street had to close is beyond me. It you don’t like Italian and want over-priced pub grub, you might enjoy a trip to La Caverna.

La Caverna, 12 Fownes Street, Temple Bar, Dublin 2. 01 6703110, www.lacaverna.info

Boorm Boorm!

The smiliest man we've ever seen on a Harley, Charlie Boorman, will be spinning yarns in Vicar Street on Sunday night. Still some tickets left at time of press... Amanda Kavanagh caught up with him a couple of weeks ago to talk tents, TV and touring

How would you describe the live show?
It's a kind of a Q&A session where I'll be interviewed on a stage full of motorbikes by Billy Ward, who runs biketruck.com. It'll be an opportunity to voice all the things that didn't get included in the TV show or books.

Like what?
More than anything, there's a lot stories and stuff that happened when the camera wasn't quick enough to catch it. Funny things and silly situations you get yourself in and you think, "Oh God, what am I doing here?"

Where is the most exotic place on the tour?
That's a tough one. Maybe Glasgow? That's probably the only exotic place in the UK, aside from Cornwall.

What kind of questions are you asked in the Q&A audience session?
I'm always asked what happened in the tent with Ewan [McGregor]. But you know, what happens in a tent, stays in a tent.

You started your journey to Sydney for By Any Means in Wicklow... Why?
I grew up in Wicklow and it's the place that I learned to ride dirt bikes, up in the Wicklow hills around Annamoe. There was a guy nearby called Tommy and it was because of him that I really got into motorbikes properly. He had a dirt bike when I was a kid and he let me have goes on it. So I've got him to thank for all this! Wicklow has been the starting point for so many adventures. My first was for my father's [John Boorman] film Deliverance and I haven't stopped since. I wanted to start the trip from home, where things really started for me. That was really important.

Where are the best and worst places you've been?
There hasn't really been a worst, although there were some hairy situations. The best was Mongolia on the Long Way Around. It was pretty incredible and it was difficult to get across. The people there were so warm and there you never see any waste, everything is used. They are just lovely people. Papa New Guinea was great too.

The live run is finishing in Dublin, what's next?

Well, probably a big hooley right after and then I'm heading to Jordan for a TV show, which I'm very excited about.

Charley Boorman Live visits Vicar Street, 58 Thomas Street, Dublin 2 on 28th March. Tickets €23. charleyboormanlive.com, vicarstreet.com

Havana - Restaurant Review

When you find a place that serves decent calamari, you’ve found a restaurant you’ll find yourself eventually haunting. After lengthy recovery from a calamari overdose on a seaside holiday last summer, the calamari urge struck again - prompting a visit to Havana on George’s Street, Dublin. With previous positive experience under an expanding belt, my choice had already been decided on the way there. A menu was unnecessary for me, but my companion accepted two from a smiling waitress regardless. The first laminate was an Early Bird menu (available all night Monday – Wednesday) and the second, the All Day menu.

My companion settled on the Chicken Satay with casablanca couscous & satay dip (€9.20) on the Early Bird, and I, while tempted by Lentil & Chorizo Stew (€8.95), was not to be deterred from my mission and ordered Calamares (€7.95). Having brought the car, availing of the €4.75 per glass wine was not an option, and so an apple juice and Fanta (€2.75 each) were both delivered to the table, both with a little too much ice.

Our food arrived after a short wait, the calamari was small but plentiful and coated in a thin crisp of non-puff batter, served on a small green salad. The accompanying coconut and lime sauce was divine and after the tender squid was eaten, I was shamefully to be found eating the sauce straight from the ramekin. My companion was happy with her two small chicken skewers, which were swimming in creamy satay, its partnering couscous was light and fluffy but the mystery dip was questionable. It tasted like a mild Tabasco sauce and for me it clashed with the satay but my companion appreciated it – out of curiosity if nothing else.

After by-passing the dessert menu, we lingered to chat without noticing it was closing time, despite feeling sheepish we noticed a couple on their first date (yes there was a little eavesdropping) also didn’t notice the time. That’s one of the great qualities of Havana, the atmosphere is relaxed and the staff don’t try to hurry you along, even if it is closing time. Although the draw of the 20% off all-night Early Bird is an added incentive to visit Havana, as a casual restaurant that already boasts low prices it’s not a major draw - come for the cocktails and calamari.

Havana Tapas Bar, Georges St., Dublin 2. Tel: 01 400 5990, www.havana.ie

John, Shelly and the Creatures - Album Review

The first thing always noted about John, Shelly and the Creatures is how their track ‘Long May you Reign’ features on the Discover Northern Ireland ads. You know the one. But there’s more to this Belfast band than providing a folksy ambience to a montage of Ferris wheels and rope bridges. A lot more. And the proof is in their debut album Dinosaur.

It opens with ‘Blinded and Cross’ with an intro that manages to be both distorted and melodic. Combining the simplicity of a solo mandolin and both hoarse and harmonious vocals, it’s a good indicator of what to expect from the rest of the album. Dinosaur is a collection of contradictions that on paper might suggest a jarring mess, but in reality flows along effortlessly, irrespective of its varied genres and broad range of instruments.

JSC wear their influences on their sleeves; ‘Sunny Side Street’, ‘Cold War’ and ‘Sight of your Chest’ in particular evoke the haunting strains of Elliott Smith. But it’s not all doom and gloom, standout upbeats include ‘Rust’, ‘Killer’ and of course, ‘Long May you Reign’. Elsewhere, while pop-rock ditty ‘Fools’ is an enjoyable romp, its faux-American accented intro does seem out of place, as does the song as a whole, considering the general tone of the album. Still, eleven out of twelve ain’t bad.

This debut serves to further validate JSC’s place in State’s Faces of 2010, expect to see and hear a lot more from these guys. While Dinosaur probably won’t persuade you to go on a Northern adventure with a man in a hideous pleather tan blazer, it will persuade you that JSC deserve the rising hype.

ABSOLUT Fringe deadline draws nearer

Those wishing to take part in Dublin’s ABSOLUT Fringe 2010 better get their skates on as the deadline for applications draws ever closer. This year’s deadline for applications is March 12th at 6pm.

The Fringe team are holding a pre-application workshop on March 10th, 6.30pm in their offices on Sackville Place to help guide applicants in what they’re looking for. This year they’re particularly looking for pieces that interpret the theme of community, and are encouraging applicants to think outside of the obvious associations of exclusion and disadvantage, so this is just the opportunity to pitch that ‘Chat Roulette – the musical’ you’ve been working on.

Fringe is open to theatre, dance, music, multi-media, visual art, live art and street performance from Ireland and abroad. Download the application form from here.

Jameson Dublin International Film Festival Closing Gala

Sidestepping a guest-listed red carpet, the ordinary Joes shuffled unglamorously to a packed Screen 1 in the Savoy for the closing gala of this year’s Jameson Dublin International Film Festival. The main event was the screening of Luca Guadagnino’s beautiful feature I am Love (Io Sono L’Amore), and the attendance of its director and leading lady added an extra buzz to the evening.

Joanne O’Hagan, CEO of the festival firstly did the obligatory ‘thank yous’ to the relevant supporting bodies, promoters, staff and volunteers before inviting festival director Gráinne Humphreys to say a few words. Humphreys took the opportunity to speak about the development on the festival which led into a poignant tribute to festival-founder Michael Dwyer, who she reckoned would have particularly enjoyed the opening credits of the night’s feature.

With the lights dimmed, Luca Guadagnino and Tilda Swinton were then welcomed to the stage, arriving from the back of the theatre. Swinton continued on from Humphrey’s tribute to Dwyer, speaking eloquently, the 10ft (approx) red head revealed that her only trips to Dublin had been for his festival and that she always kept an eye out at Cannes and Toronto for her “fellow ginger”.

In introducing the film, director Guadagnino began by saying that although it was his first trip to Dublin, he felt as if he already knew the city through its wealth of music and film. Before hurriedly handing back the mic, he added that John Houston’s The Dead had been a particular influence on him. Cue Dublin applause.

The curtains went back and the credits roll. If Dwyer had a penchant for beautiful fifties-style opening credits, then Humphrey’s assumption is right on the money. The lengthy credits of I am Love (Io Sono L’Amore) takes viewers back to a forgotten age of cinema, transporting old-fashioned aesthetics to turn of the millennium Milan.

The narrative opens on the meticulous preparations for an elaborate family dinner, under the instruction of wealthy housewife Emma Recchi (Swinton). As the family assembles, family tensions are palpable. Swinton’s restless character is at the centre of the peace keeping, until the fractures of her complex family life begin to mount. Beginning with a surprise announcement at dinner, the family’s world starts to unravel. To give a flavour of the plot without giving away too much, one of my intelligent friends pointed out its similarities to Ibsen’s A Doll’s House – take from that as much as you want.

Shot beautifully with a dramatic score from John Adams, I am Love is simply gorgeous. Swinton is fantastic as usual, speaking fluent Italian with a faint Russian accent (!). The support performance from Marisa Berensen as matriarch Allegra Recchi is restrained and aristocratic, whereas Antonio Biscaglia’s versatile Edo is convincing in both his optimism and despair. Although the shortcuts used to symbolise a character’s ‘coming out’ as a lesbian are a bit ridiculous (short hair, culottes for example), overall I am Love is a masterpiece. After wrestling its format from the clutches of Turkish soaps, Guadagnino had successfully reclaimed the melodrama.